[Metal/Doom] Candlemass – Nightfall (30th Anniversary review)

Today marks the 30th anniversary of the release of Candlemass second album “Nightfall”, released a year after their seminal album “Epicus Doomicus Metallicus” and featuring Messiah Marcolin. It follows the same path set by their first album and further establish the basis of what will become the flagship band of classic doom metal. Considering the album was written, recorded and mixed within a year of their first album and simultaneously improved the quality of the song is in my opinion an impressive effort from the band.
It is a 10-track album spanning 46 minutes. We start with a melodic introduction named “Gothic Stone” that set the tone of the album: a bolder, heavier and more elaborated sound than “Epicus…”. Its only a ramp to introduce to the second track “The Well of Souls”. Messiah Marcolin nails again with his remarkable voice and putting into music the lyrics. The third track,”Codex Gigas” provides an instrumental interlude and a damn nice interlude allowing to enjoy the Candlemass sound by its own. “At The Gallows End”, the fourth track, is one of my favorite by the melodics, Messiah singing and the lyrics talking about death. “Samarithan” marks a step down but also a sound closer to what we call today modern doom by playing slow even in Candlemass standard.
“March Funebre” marks the second melodic interlude, providing a metal cover to the classic composition of funeral march, allowing to our introduction to “Dark Are The Veil Of Death”. A faster than usual Candlemass song, but still a nice a nice one.  “Mourners Lament” is instead sticking to the doom and one of my favorite, with its dark lyrics and Messiah’s voice. “Bewitched” is the only track that had an official video clip.

“Black Candles”, is the last track of the album, providing an instrumental epilogue to the album.
With this second album, Candlemass cemented the foundation of what we call today the doom metal genre, setting a milestone in the genealogy of the doom genre. It also settled for me Messiah Marcolin as Candlemass singer. Marcolin left the band after their fourth album but none of the singers that took over never reached the quality of Messiah.
If you want to enter the gloom of doom metal genre, Candlemass second album “Nightfall” should be in your itinerary before you decide to fork and head into stoner metal or into something much darker.

 

 

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[Metal/Death] Cab Ride Home

I have a strong urge of listening something brutal this morning, in particular something from a band named “Cab Ride Home”. The video is a bit garbage (the audio is horrible!) but it is some good death. I let you with this video. Oh, did I mention that a certain Danica Roem is on the vocals? :p
https://youtu.be/aHvbLXyzank

[Metal/Symphonic] Nightwish – Angels Fall First (20th Anniversary)

Today marks the 20th of the release of the Finnish Symphonic Metal band Nightwish “Angels Fall First”. It is interesting to think that for some reason Tuomas does not consider it as their first album. Sure, it had a limited release, mostly in Finland, but I still consider as their first album.
It is interesting to listen back to this album in its retrospection. It is an 11-track album, lasting a 67 minutes. Coming back from that day, the first thing that comes into the attention is the use of keyboards elements wrapping the guitar riffs. But foremost, it is Tarja that brings on the attention. In my knowledge (and I maybe wrong on this one), this is the first instance of the presence of a trained of a professionally trained mezzo-soprano. Sure, femal-fronted metal bands were already here including in gothic metal bands like The Gathering.
It starts with “The Elvenpath” setting the tone, with excerpt quotes from the 1978 cartoon movie “The Lord of The Rings”. The second track, “Beauty & The Beast” somehow sounds like more Nightwish as we know it today, in which Tuomas keyboards lead the charge. A 10:22 track of some awesomeness in the blend of the instrumental symphonic elements with the guitars melodics played by Empuu. Thats it, the prototypical symphonic metal track that surely inspired many to also experiment the same in their studio. You can take anyone in a blind test, ask him or her the band behind the song and get “Nightwish” cited most of the time. I discovered this album much later than the release, but I can imagine the reaction folks had back then. “The Carpenter”, third track of the album is more in line with gothic metal elements, sounding more familiar. It is also the first track of the album featuring Tuomas in the vocals. I guess there is a reason Tuomas hates this album and also why he does not sing in the other albums :p. It’s okay but yeah kind of a let down from “Beauty & The Beast”. Just listen here.
https://youtu.be/Z4A5HwMOfW8

“Astral Romance” brings up the album to a higher level, that is another favorite in my playlist, some good old Nightwish here (I somehow prefer these kind of outdated tunes from their most recent albums). “Angel Fall First”, the fifth track, is somehow introducing us to the powerful keyboard ballads that Tuomas will produce later in his career. Again, Tarja’s voice is magnificent even in her beginning career. “Tutankhamen” brings the metal kick back in, making it very enjoyable. Again, I could serve it into a blind playlist and someone would swear this track is part of their later album. “Nymphomaniac Fantasia” is a nice one too, but maybe a bit “cheap” in my opinion. “Know Why The Nightingale” is another good one from the album.

“Lappi (Lappland)” is the only Finnish song but oh boy, I can guarantee a lots of headbangers rushed to a Suomi dictionary to understand the lyrics. But who cares? You don’t need to understand it to feel the beautiful in this song. Again, it hints us about the whiz inside Tuomas in handling the keyboards, much more at ease than singing. Some damn good old Nightwish!

The album concludes with “Return To The Sea” inspired by gothic elements and finally “Once Upon A Troubadour”, that is honestly not much my favorite. Blame it on Tuomas or not, I don’t know just not that fond.

[Metal/Doom] Hallatar – No Stars Upon The Bridge (95%)

Hallatar, a side project band former by Amorphis vocalist Tomi Joutsen, Swallow The Sun guitarist Juha Raivio and ex-HIM drummer Gas Lipstick released the tribute album “No Stars Upon The Bridge” to late metal singer Aleah Starbridge, band member of “Trees of Eternity” and partner in life to Juha.
What I can tell that after a year that we lost Aleah to cancer, the pain and sorrow is still present in the metal scene. Hallatar, through this album, is playing into a much more darker and black tone that any of the members usually play in their respective bands. These bands are already playing some fine doom, already heavy in dark and despair. Imagine achieving the most concentrate black tone you can from sadness, sorrow and pain. This is what this album is basically giving us: a very painful, sad and heart wrenching requiem to Aleah, using her own poems put into lyrics and offering into a majestic album that distillate some of the best spirits of all three bands into a masterpiece of modern doom metal.
The album is a 9-track album, a 40 minutes requiem that will shake your from deep in it, reviving some of these painful souvenirs of the lost ones. I am warning you, this is not for the fainted of heart. It is very depressing but so liberating and cathartic.
We start with “Mirrors” with the vocals of Tomi and the signature guitar tones of Juha (that gives this trademark to Swallow and Trees). Slow, doom and gloom, damn good funeral doom introductory track.

The interlude comes from hearing Aleah’s voice reciting her poem “Raven’s Song” (Track 2) and followed by “Melt”. Straight into the playbook from Swallow the Sun, Tomi’s clean voices allows us to fully appreciate the lyrics, accompanying us into the processing funeral march. “My Mistake”, the fourth track song, features Heike Langhans (Draconian) as guest lyrics and keep on into our funeral processing march. “Pieces”, the following track, provides an interlude with its solitary piano with Aleah’s poem haunting us. “Severed Eyes”, is in my opinion this kind of track that is made to heal and remember our dearest love ones that we lost by playing on the dry guitars and the simplicity. “The Maze” is a damn good funeral doom track, an amazing track by its ability to wrench your inner mind and rediscover these dark corners that often get buried into our lives. “Spiral Gate” is the last interlude of Aleah, leaving us with her last goodbye poem and nicely transitioning to the last track “Dreams Burn Down”, the concluding track of the album. Majestic piece of work, like a last farewell to the casket before the burial with Aleah haunting voice. You realize that as the casket is brought down and the first pile of dirt covers it that this is over. That the nightmare is not a nightmare anymore, it is the reality of life and we cannot reverse anything to it. It is time to give our farewell do our dearest love and remember it into our hearts and mind.
What I can say is rarely such an album, fruit of a collaboration of some of the finest doom/gothic Suomi (Finnish) metal bands, can shake someone inner psyche and let it tears the emotion apart. Yes, it is sad and depressing. Yes, it is dark and heart wrenching. But it is also a cathartic album allowing us to anyone listening to it to make the last grievance and keep in our mind the loss one of the most beautiful feminine metal voice we lost in the person of Aleah Starbridge. Rest in peace nightingale :(.

[Metal/Melodic Death] Arch Enemy – Rise of the Tyrant (10th Anniversary Review)

Today marks the 10th anniversary of the release of Arch Enemy “Rise of The Tyrant”, the seventh album of the band. It is a 49 minutes, 11 tracks packed with fury and rage, in my opinion one of the best AE album from Angela Gossow-era.
We start with the ballistic “Blood On Your Hands” setting the tone: brutal and full of rage, one of my favorite tracks of the album by its fast-paced drums and guitars, Angie roars and Michael’s melodic riffs. We do not have any second of rest as we move with “The Last Enemy”, keeping on the insane speed of “Blood On Your Hands”. We are not yet done with the 10-minutes mark that we have this huge burst of adrenaline, priming you to enter the mosh pit. “I Will Live Again” slows down the pace into a more classical AE, allowing us to better savor on Michael’s melodic riffs and focus on Angie’s lyrics. This classical interlude is only transient as we move to the fourth track “In This Shallow Grave”. Combining fast and slow tempos, with Michael neighing his guitar like a horseman of the Apocalypse, Angie dark lyrics are really hitting deep inside, as some quotes from the lyrics “I have no soul, I have no blood. Genocide! Who is your master in this shallow grave? Alone, in this shallow grave….”. “Revolution Begins” appears in my opinion something you would have heard from “Anthems of Rebellion”, setting aside the brutal riffs and drums of the first tracks to allow the exposure of the lyrics. “Rise of The Tyrant”, the leading track of the album starts with an excerpt of the movie “Caligula” in which Caligula declare himself as a God, following by the brutal riffs and Angie growls. We are at 30 minutes and man this album is damn great in keeping us engaged and beefed up. “The Day You Died” keeps on the classical AE, so we are in good old melodic death metal. “Intermezzo Liberte” is this kind of interlude I love with AE, allowing us to enjoy Michael Amott’s remarkable guitar play. “Night Fall Fast” keep on the straight A line. “The Great Darkness” is maybe the weakest in my opinion but still pretty decent. “Vultures”, the last track of the album, perfectly an almost flawless album. Ten years later, “Rise of The Tyrant” hold up very well in my AE discography alongside with “Doomsday Machine” (my two favorites of AE Angela Gossow-era). If you have been entering Arch Enemy and have to pick an album with Angie fronting the band, pick this one.

[Metal/Melodic Death] Arch Enemy – Will to Power (90%)

Finally, after a week in waiting….got my Arch Enemy pre-order by mail including a tee and a digital version of the album (including a poster and three stickers, yikes!).
So how does Arch Enemy’s latest album hold? How does Jeff Loomis brings in the band? Interesting to do this review a week ahead on the 10th anniversary of their album “Rise of The Tyrant”.
Well you have the choice: the short or the long comment. The short one? A damn good AE album! The long one? Gonna have to read it through. This is an album made of 13 tracks totaling 54 minutes.
We got introduced by “Set Flame To The Night”, an instrumental opener that for AE fans reminds us the intro of “Khaos Legion” album. “The Race” brings on the big guns and set the tone of the album: its gonna loud, fast and furious. You know something from the good old times when Angie was fronting, that stuff that raises your adrenaline serum levels and gives you to jump into a mosh.
“Blood In The Water” slows down a bit, bringing the classical Michael Amott melodics riffs backed by Jeff Loomis, some classic AE style as I love it :). The “World Is Yours” marks this blend of the old and the new (brought with “War Eternal”). The tunes are catchy, certainly a great one as flagship song for promotion but I am not much impressed. That can be a great primer to the band if you have not listened to the band before. Listen by yourself and judge:

The fifth track, “The Eagle Flies Alone” is slower in pace but it is like the melodic power ballad with Michael and Jeff bringing on the riffs. Thats what I like about AE, powerful melodic riffs with fast-paced brutality. AFE!

“Reason To Believe” is the one posing as a power ballad, imagine stretching the Michael’s interlude into half a song with Alissa bringing on her experience on clean voices from the Agonist on that one, distilled inside this song. Turn on your lighters on that one. Oh yeah!
The seventh track “Murder Scene” brings back the brutal AE, good stuff but not too impressive. That compared to the eight track, “First Day In Hell”, starting like “We Are A Goodless Entity” only to bring it the heavy, hammering tough lyrics.
“Saturnine”, the the 9th track is this very nice instrumental interlude that Michael used to serve to each album. Short but sweet gothic one. “Dreams of Retribution” starts with Michael melodics a la Yngwie Malmsteen only to bring us the power melodic riffs surfing on some tunes we grew accustomed in “War Eternal”. Damn good track! “My Shadow And I” is nice but yeah not really talking to me much. “A Fight I Must Win” is a nice one to listen, straight outta AE playbook. The last song is “City Baby Attacked By Rats” is a very nice cover of the original punk song from GBH. I am not into punk music, but the cover is pretty rad. The original below.

So here we are at the end of the album. What can I say? I got introduced to AE via “War Eternal” and went into their discography retrospectively. Paradoxically, listening to “War Eternal” sounded one of the weakest link of their album. But, there is a big but here. I consider “War Eternal” as a transition and may explain this weakness. “Will To Power” brings the good old AE, Alissa settled into the continuation of Angie but in the same type pushing the band to foray into new avenues like “Reason to Believe”, there is also this idea of reaching out by Michael, maybe as his experience in pushing his Spiritual Beggars project, with the cover of “City Baby…”.
Arch Enemy brings on the big guns, followed by the engaging melodic riffs, bringing you in this state of frenzy prime for some memorable moments in the mosh! Thats some AFE album you handle here!

[Metal/Doom] Paradise Lost – Medusa (90%)

If you have been a long time follower, you surely have heard of the “Unholy Trinity” of doom (named after the record label) metaphorized under the UK doom metal bands Anathema, My Dying Bride and Paradise Lost. All three started very dark and heavy doom, only to evolve into their own artistic direction. As Anathema went more into the alternative scene, so did I drifted away from them. Paradise Lost, in my opinion more into death metal shores. They were bringing on the dark lyrics and blended in with the rage of death metal.
Then Paradise Lost came in with their 15th album “Medusa” last Friday. I don’t know if listening to the album alongside watching the very dark and pessismitic ending of “Twin Peaks: The Return”, it really left on me a very good impression by its heaviness and darkness, a sort of a return to their roots.
Lets go through the album, that is a 10-track (I guess this is the iTunes version) and lasting 52 minutes. We got into it with “Fearless Sky”, a majestic introduction sounding like the prologue of a funeral mass, with the growls and lyrics of Nick Holmes. Mind blown by it. Just read an excerpt of the lyrics:
Life’s contempt, a life of trial to unrest, vilified/I resent, morbid times so oppressed, soul divine/Lies torment, as I try to confess to a fearless sky“. The second track, “Gods Of Ancient” continues into the doom and gloom, is another gem of the album. The third track, “From The Gallows” brings up Greg Mackintosh melodics more upfront and damn I like Greg’s guitar composition. The fourth track, “The Longest Winter” is my opinion the track that brings up the influence of sludge reported by some reviewers but also showcasing the ease of Nick to sing both cleans and growls. Judge by yourself here.
https://youtu.be/ufs-kLZFyjU

“Medusa” welcomes us with a opening piano followed by the melodics on the guitar by Greg and by Nick Holmes vocals. Languishing and dark. “Passage for the Dead” is in my opinion the second track with a clear sludge tone to it. “Blood And Chaos” sounds more the modern Paradise Lost, this is also my least favorite one. No big deal, but yeah not really fond of. You can make your opinion on it since there is a official video on it:

“Until The Grave” continues into this more modern sound of Paradise Lost. Nice but not transcending either.

As a iTunes special edition, we have two extra tracks. “Shrines” is also a very nice song also harboring this heavy sludge metal influence in it. “Symbolic Virtue” concludes this album by bringing on the old and the heavy doom.

As the band slowly reaches the 30th anniversary of their formation, Paradise Lost show us that pain, sorrow and sadness never heal. That like Sisyphus, we are set fate to perpetually keep the sorrow of those who we have lost, of those we have broke our hearts on. Having a band that can maintain and reconnect to its roots while in the same explore new avenues (like sludge in this one) is in both times soothing and exciting. Brace myself, September is coming with a damn fine selection of great albums.